Minna von Barnhelm | Page 3

conversion by word pro- cessing or hypertext software, but only so long as *EITHER*:
[*] The etext, when displayed, is clearly readable, and does *not* contain characters other than those intended by the author of the work, although tilde (~), asterisk (*) and underline (_) characters may be used to convey punctuation intended by the author, and additional characters may be used to indicate hypertext links; OR
[*] The etext may be readily converted by the reader at no expense into plain ASCII, EBCDIC or equivalent form by the program that displays the etext (as is the case, for instance, with most word processors); OR
[*] You provide, or agree to also provide on request at no additional cost, fee or expense, a copy of the etext in its original plain ASCII form (or in EBCDIC or other equivalent proprietary form).
[2] Honor the etext refund and replacement provisions of this "Small Print!" statement.
[3] Pay a trademark license fee to the Project of 20% of the net profits you derive calculated using the method you already use to calculate your applicable taxes. If you don't derive profits, no royalty is due. Royalties are payable to "Project Gutenberg Association/Carnegie-Mellon University" within the 60 days following each date you prepare (or were legally required to prepare) your annual (or equivalent periodic) tax return.
WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO?
The Project gratefully accepts contributions in money, time, scanning machines, OCR software, public domain etexts, royalty free copyright licenses, and every other sort of contribution you can think of. Money should be paid to "Project Gutenberg Association / Carnegie-Mellon University".
We are planning on making some changes in our donation structure in 2000, so you might want to email me, [email protected] beforehand.

*END THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.04.29.93*END*

Etext prepared by Dagny, [email protected] Emma Dudding, [email protected] and John Bickers, [email protected]

MINNA VON BARNHELM OR THE SOLDIER'S FORTUNE
by GOTTHOLD EPHRAIM LESSING

Translated By Ernest Bell

INTRODUCTORY NOTE
Gotthold Ephraim Lessing was born at Kamenz, Germany, January 22, 1729, the son of a Lutheran minister. He was educated at Meissen and Leipzic, and began writing for the stage before he was twenty. In 1748 he went to Berlin, where he met Voltaire and for a time was powerfully influenced by him. The most important product of this period was his tragedy of "Miss Sara Samson," a modern version of the story of Medea, which began the vogue of the sentimental middle-class play in Germany. After a second sojourn in Leipzic (1755-1758), during which he wrote criticism, lyrics, and fables, Lessing returned to Berlin and began to publish his "Literary Letters," making himself by the vigor and candor of his criticism a real force in contemporary literature. From Berlin he went to Breslau, where he made the first sketches of two of his greatest works, "Laocoon" and "Minna von Barnhelm," both of which were issued after his return to the Prussian capital. Failing in his effort to be appointed Director of the Royal Library by Frederick the Great, Lessing went to Hamburg in 1767 as critic of a new national theatre, and in connection with this enterprise he issued twice a week the "Hamburgische Dramaturgie," the two volumes of which are a rich mine of dramatic criticism and theory.
His next residence was at Wolfenbuttel, where he had charge of the ducal library from 1770 till his death in 1781. Here he wrote his tragedy of "Emilia Galotti," founded on the story of Virginia, and engaged for a time in violent religious controversies, one important outcome of which was his "Education of the Human Race." On being ordered by the Brunswick authorities to give up controversial writing, he found expression for his views in his play "Nathan the Wise," his last great production.
The importance of Lessing's masterpiece in comedy, "Minna von Barnhelm," is difficult to exaggerate. It was the beginning of German national drama; and by the patriotic interest of its historical background, by its sympathetic treatment of the German soldier and the German woman, and by its happy blending of the amusing and the pathetic, it won a place in the national heart from which no succeeding comedy has been able to dislodge it.

MINNA VON BARNHELM OR THE SOLDIER'S FORTUNE

DRAMATIS PERSONAE
MAJOR VON TELLHEIM, a discharged officer. MINNA VON BARNHELM. COUNT VON BRUCHSAL, her uncle. FRANZISKA, her lady's maid. JUST, servant to the Major. PAUL WERNER, an old Sergeant of the Major's. The LANDLORD of an Inn. A LADY. An ORDERLY. RICCAUT DE LA MARLINIERE.
The scene alternates between the Parlour of an Inn, and a Room adjoining it.

ACT I.
SCENE I. Just
JUST (sitting in a corner, and talking while asleep). Rogue of a landlord! You treat us so? On, comrade! hit hard! (He strikes with his fist, and wakes through the exertion). Ha! there he is again! I cannot shut an eye